Customer Reviews

Straight Life

5 star:		(14)
4 star:		(4)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

Hubbard turned out a raft of forgettable records on the long-defunct CTI label, but "Straight Life" was a fine effort, an all-star session with a Latin-y feel that found all concerned in fine form.

The title cut is a 17-minute jam. Hubbard exploits the upper register throughout much of his solo, and Joe Henderson on tenor delivers a blistering attack that is one of the high points of the album. George Benson's guitar simmers things down to a bluesy boil and Herbie Hancock works out effectively on the electric piano, finding a Latin groove with percussionist Patato Valdez and the great drummer Jack DeJohnette.

"Mr. Clean" is another straight-ahead attack that allows Freddie to show off his chops. Henderson again gets off on tenor, with a hammering, almost percussive solo.

The album's mood relaxes with the finale, the standard "Here's That Rainy Day." Hubbard has never exhibited, for me, a great touch with ballads, and he fails to find the romance of the tune here. Henderson, unfortunately, lays out. Given his superb work on the sessions two burners, I found myself missing his sound on the ballad, a form with which he has always been very comfortable. On the plus side, Benson contributes some very tasteful comping on guitar.

"Straight Life" finds Hubbard poised at the edge of an unfortunate foray into sessions sweetened with strings, and even worse, tepid funk- and disco-flavored dates. Surrounded by longtime buddies (some of whom would unfortunately follow his subesequent path), he showed that when properly inspired, he could still blow the roof off.

Some jazz 'purists' love to bash this period in Freddie Hubbard's career. OK, its not his very finest... but are we going to consider everything after "Maiden Voyage", "Blues and the Abstract Truth" and assorted Art Blakey albums totally superfluous?? Well, perhaps the point could be made. Oh yeah, there's also some burning work with Dexter Gordon. But aesthetically, I take a different view... which is that the sessions for Red Clay and Straight Life, if not others, produced totally burning solo-work from Henderson, Hancock and Hubbard on most every track. I would further argue that Henderson was never better...at least on modal material. I seriously doubt he ever displayed more ferocity, endurance, and creative genius than here (true, he may have on live occasions). Any tenor enthusiast or player who doesn't give a close listen here (and on Red Clay) is making a mistake. The only disappointment is perhaps the tepid rendering of the ballad, and that there aren't more tracks to the session.

This is one of the most hard hitting jazz albums I've ever heard. The band assembled for "Straight Life" pretty much explains why: Joe Henderson on sax, George Benson on guitar, Herbie Hancock on piano/keyboards, Ron Carter on bass, and Jack DeJohnette on drums. (Weldon Irvine is even given credit for playing tambourine!) Almost everyone that plays on this album had recorded with Miles Davis at some time or another, and Freddie Hubbard ended up with a monster of an album in incorporating all that talent into one group. The seventeen minute title track is awesome; all the instrumentalists are in top form and turn in inspired solos. Joe Henderson in particular blew me away on this song. His solos are ridiculous here; I have some of his solo stuff and his playing on those discs doesn't compare to how he played on "Straight Life". George Benson also is a standout with his creative solo and occasional flurries of notes. Jack DeJohnette lays down a solid beat throughout. "Mr Clean" was written by Weldon Irvine (also worth checking out is Irvine's own version from the album "Liberated Brother", if you can find a copy) and continues the rapid fire soloing and mood of track one. Hubbard's playing throughout this song is fluid and fiery. "Here's That Rainy Day" slows things down but ends the album on a pleasant note. This was one of the first albums by Freddie Hubbard that I ever purchased and has remained one of my favorites. If you are a fan of jazz in any form I can't recommend this disc enough.

This album is equal parts fire and funk. The title cut alone is worth the price of admission. Featured are Hubbard on Trumpet and Flugelhorn (on Here's That Rainy Day), Joe Henderson on tenor, George Benson on electric guitar, Herbie Hancock on electric piano, Ron Carter on electric bass, Jack Dejohnette on drums, with Richie Landrum and Weldon Irvin rounding out the percussion section. Supported by this formidable collection of top shelf musicians, Hubbard's trumpet flies right from the opening salvo of the latin flavored funk of Staight Life, to the more groove oriented licks of Mr. Clean. The tender Here's That Rainy Day finds Hub playing a sublime Flugelhorn. The supporting musicians have plenty of room to solo, and they seem to grab the music and wring it for all it is worth. Joe Henderson's eruption of a solo on the title track is a high point. I recommend this cd to anyone who is into hard driving jazz/funk and solos that will burn up your speaker cones. This is a cd to put on, hit repeat, turn up, and let it tear you a new soul!

This is one of my favourite Freddie Hubbard albums. I enjoy listening to Straight Life even more than the famous Red Clay. The title track has been described as almost a "blow out" and I totally agree. Freddie takes turns with other greats such as George Benson at soloing and working around the central theme. Isn't this kind of thing what Jazz is all about? This album is thick with improvisation, spectacular tonality and energy. Strangely it remains relatively unknown in comparison to Red Clay, but when people hear it they tend to be very impressed. The title track alone is worth the asking price, but the remaining two tracks are brilliant in their own way. I'd recommend this to people who enjoy Jazz with a more improvised and live feel. The spontaneity may bring with it distortions and imperfections but it creates stunning moments that simply would never be achieved by more restrained playing.

the first 30 seconds are a little strange as freddie blows like crazy and then a drum roll is played. . . again. . . again. on first listen, i was scared. the first two cuts are long and funky. the groovy foundation is set up quick on both tunes, and then it's solo after solo. this isn't as bland as i make it sound. it's actually pretty exciting, but it's hit and miss. when it misses it's because the groove gets lost and, as you might expect, some of the solos are better than others. the playing is consistently good though and the solos are really creative and the artists aren't scared to venture into the unknown. the third track is a nice and tight ballad with trumpet, bass and guitar. it doesn't really fit the style of the rest of the cd, but it's still good and may be the best tune on the album. as usual for cti recordings, the supporting band is top notch.

i cant agree w any who say this is not in the same class as red clay--- this jazz fusion funk whatever u want to call it-- if miles invented/perfected it which he may have - he is a jazz god ! then hubbard and this gang all miles alumnae---jumped in and had some crazy fun which is so evident on this 1970 date----freddie unloads here right from the start---and joe henderson catches the fire too and he blazes like never b4 here----by hubbards second solo on the first tune- he settles into more of a groove and w the rest of this amazing roster of players its quite a thrilling bubbling mix----a dizzying and divine madness percolates herein ! for me this is a classic gem-and the best in this genre of its era--tho miles was still going strong at this time--- i think agharta was still to come-- and to me that was miles' swan song-- his last incredible session----but here w hubbard---a similar grooove of hearty proportions !!! a real groovathon !!! just check out the roster of players on this-benson carter hancock dejohnette etc ! the best !!!!!

CTI Records' early 1970s catalogue is an embarrassment of riches, with nearly all the brightest lights of the preceding decade appearing repeatedly as leaders and/or sidemen on well-balanced albums which for the most part manage to be both artistic and accessible. Trumpeter Freddie Hubbard was one of the label's biggest stars, and this 1970 blowing session (his second CTI LP) serves as a fine case in point. Surrounded by fellow ex-Blue Note Wunderkinder (Herbie Hancock and Joe Henderson), Miles Davis rhythm section alumni (Ron Carter and Jack DeJohnette) and the tasty picking of a young George Benson, Hubbard riffs through two extended original jams in characteristically titanic fashion, slowing down to display his matchless sensitivity on a light, lovely cover of "Here's That Rainy Day." All hands deliver a fine, funky performance, which is happily free of the hit-or-miss orchestrations which CTI employed on most of its releases at the time, including many of Hubbard's. Classic early fusion of a decidedly listenable variety, STRAIGHT LIFE is a great way for pop and rock fans to get themselves into jazz, and for jazz fans to remind themselves what it was that made them fall in love with the genre in the first place. Hot!

There are definitely some great moments on this album, and the rendition of "Here's That Rainy Day" is one of the best you'll find anywhere. But the rest of this album is mainly one-chord jazz-funk jamming that wears thin pretty quickly. Hubbard's other big CTI album, Red Clay, generally gets a lot more attention, and for good reason: it covers much of the same territory as Straight Life and then some, and sounds more inspired to boot. Skip this and pick up Red Clay instead; it's definitely the crown jewel in Hubbard's discography.

Straight Life may well be Freddie Hubbard's best album. Though only containing three tracks, the album packs a powerful punch. It is jazz-rock fusion at its best. Mr. Hubbard assembled a who's who of jazz musicians from this time period including Joe Henderson on saxophone, George Benson on guitar, Herbie Hancock on electric piano, Ron Carter on bass and Jack DeJohnette on drums. The title track is built on a Latin beat and features an insane intro by Mr. Hubbard. Mr. DeJohnette provides a fierce foundation that the other musicians climb on top of and fire off. "Mr. Clean" shifts into funk with some fat and chunky riffing. Mr. Henderson throws off some hefty passages and Mr. Hancock shines on a great solo. The final track "Here's That Rainy Day" brings the album into ballad territory, but it is saved by some impressive guitar and bass work by Mr. Benson and Mr. Carter respectively.